I’m going to London for work but would have time to visit museums or things like that: is there anywhere in the city where I might be able to see some very nice antique flutes, a flute collection perhaps in a museum, in London?
The Carse Collection at The Horniman Museum is the main/best one - and free! They also hold the Boosey & Hawkes Collection, but I don’t know if/how much of that is (yet) on public display/at the main site. Highly recommended.
Also the Royal College of Music.
The V&A had some instruments on long-term display but announced recently that they were closing that exhibition, so I don’t know the current status of that.
If you have time for a quick trip to Oxford, make sure to see the Bate Collection.
Terry
Oh, and there are sessions… 
From their site.
Thanks a lot Jem and Terry. Unfortunately the Royal College of Music AND the V & A instruments museums are closed for refurbishment. Grrrrrr… Anywhere I could just see a Rudall and Rose or a nice Boosey PRatten in London city center?
Shane
“Anywhere I could just see a Rudall and Rose or a nice Boosey PRatten in London city center?” Thalatta.
Session at the Porterhouse, Covent Garden, on Sunday afternoon around 15.00 if it’s still on. Andrew P could be there and he has a very nice R&R.
Porterhouse session starts at 17:30 these days, and although I don’t think I know Andrew P I’ve never seen anyone down there with a R&R. But it’s a friendly session, so come along for a tune anyway!
Jem, do they have Rudalls or Prattens in the Horniman? And anything else interesting flutewise? I’ll be tied for time so just want to make sure it’s worth it!
Everyone else, thanks for the invite to the session, but I won’t be there until Monday night, leaving on Tuesday, so won’t be able to make it. Sounds really fun though.
Thanks, Shane
I can’t remember the catalogue! I was last there about 14 years ago. But it is a very significant collection of woodwind with a good many flutes of all types. Well worth the trip south of the river if you have time.
I must say I don’t quite understand what you hope to gain from looking at a Rudall or Pratten in a glass case that you place such an emphasis on that. Meeting one at a session is both more likely and more worthwhile, I’d guess, if I have the right sense of what you really seek. Looking at the collection is fascinating, though.
Yes, what’s the point in seeing a flute if you can’t play it or have someone to play it? IMO obviously…
I know what you guys mean. It’s just that I live in France, and don’t know anyone in the sessions I’ve been to who has a Rudall or a Pratten, so I thought London museums might do the thing. Of course, looking at one isn’t as good as trying it out, but looking can be nice too. That’s all. Thanks for the suggestions!
Sure. I do think it is well worth looking and that there is much to learn even when one can’t touch, let alone play. But don’t go and be disappointed if you don’t see one of those specific things - go enjoy what is to be seen, profit therefrom (there are relatively few other places where there is so much to see) and make the most of it.
FWIW, flute shop All Flutes Plus seem to have one R&R (?frankenflute) on their books currently - you’d even be able to try that! Just Flutes have nothing relevant listed at present, nor does Tony Bingham.
I’m by no means in-the-know about London sessions, but from what info I do have, I’m not aware of a Monday night sesh, alas. How about putting out (new thread) an appeal to any London area C&F members who own an original R&R or Pratten who might be willing to meet you Monday evening?
Hi, I’m not going to drool on or stalk any Rudalls, don’t worry! I just love looking at nice flutes. Thanks for the All flutes plus idea, that’s perfect. They have two Fentums too. I’ll give my thoughts when I get back. Thanks again guys.
Report!?
Well, back from London. Beautiful city, fascinating place to visit. But… all of the musical instrument collections in museums were closed for renovations, so I only made it to All Flutes Plus to enjoy some of their lovely antiques.
However, since I am slightly mad and obssessed - I have explained this before - I had a walk down some of the famous streets: Strand (for Fentum’s old haunts), Villiers and Tavistock streets (for Rudalls), etc. It was thrilling. The Strand has changed hugely since 1844 when Fentum was there: for a start, in the 1860s, the Victoria embankment was built just behind 78 Strand, claiming land from the River and bringing the Strand further away from the water, which in turn encouraged the building of a huge hotel, the hotel Cecil, eating up the block where 78 Strand crossed Cecil street (now gone); the hotel Cecil was then replaced by what stands there now, the Strand hotel. That said, behind some of these buildings and between them I was able to find some old little red-brick Dickens-looking buildings which were standing in 1844, as well as churches like St Mary le Strand. At one point, towards evening, I even thought I saw some 19th century figures, darkly dressed and wearing hats, wandering down Adam’s Street… Enough of that.
“However, since I am slightly mad and obssessed - I have explained this before - I had a walk down some of the famous streets: …” Thalatta.
I’m glad you enjoyed your visit to London Thalatta, and I understand what you mean. I also find old flutes fascinating, even just looking at them. Mind you they often look better than they sound I think. During Willie Week we visited Sam Murray’s workshop in Galway and even took some photos of Sam and myself in his shop (My girlfriend asked first if it was ok). Fascinating to see where the flutes are made and well worth documenting. Think if they had had access to digital cameras and iphones back then - the horror 
. Sam had a Rudall laying on his lathe bench which he played for us, and it was interesting to hear a modern master flute maker’s thoughts on R&R flutes.
Yes, it was really thrilling to walk around there. It might seem crazy, but the best way to “meet” someone who lived in 1844 was for me to look closely at buildings or views that stood there at the time, a façade or rooftop or spire, with the backdrop of the sky and say “he saw that, he saw that view”, and in this way I could forget the cars and have a piece of what the flutemaker saw in his day, walking perhaps from Wylde’s workshop to his own, or else walking to the local church…
And this might sound madder, but when I came home after the trip and tried out my Fentum, it sounded better than ever - as though the maker were there too. No doubt just my own fancy. Or is it… Tis late now, the candle is out, I shall retire to bed.
I know exactly what you’re describing, Thalatta. Not with respect to flutes, specifically. But the sense of experiencing a particular place with time flowing through it, and traveling backwards along the flow.
If you’re familiar with Paris … Sitting in the Arènes de Lutèce and surrounded by Gauls and Romans watching Plautus, instead of the guys playing pétanque in the dirt. Or Le Vert Galant at the tip of Ile de la Cité, the quiet spot next to the Pont Neuf where Jacques de Molay was burning at the stake. It’s all still right there in front of you. Just not right then.
MTGURU wrote:
If you’re familiar with Paris … Sitting in the Arènes de Lutèce and surrounded by Gauls and Romans watching Plautus, instead of the guys playing pétanque in the dirt. Or Le Vert Galant at the tip of Ile de la Cité, the quiet spot next to the Pont Neuf where Jacques de Molay was burning at the stake. It’s all still right there in front of you. Just not right then. >
Very Nouvelle Vague! 
La marquise sortit à cinq heures…
Bob
Edited one time to elucidate. . .